Quotes About Engagement

So much about getting onstage is creating a connection with an audience that allows you to go different places and try different things.

I never used to speak to the audience at all. I never really knew what to say onstage.

I don't really move onstage; all I do is just gradually hunch more and more and jut out at the people in the front row.

The most amazing thing is being onstage and watching the audience sing every song lyric for lyric.

Frontmen come alive when they come onstage.

It's always been about the live show for us. We're having Halloween onstage every night.

Onstage, I find absolutely nothing but exhilaration in not talking.

When you're doing stand-up, you want to stand onstage and, to the extent that you can, uncomplicatedly entertain.

When I'm onstage, I'm not thinking about ideas. I'm not in my head at all. It's a more physical experience.

I like to pick out a certain part of each show I'm in and I watch it when I'm not onstage or in my dressing room. I'll go down to the stage and watch that part of the show each night.

When you get onstage, you can see everyone in the audience's face, down to the detail. You can see who may or may not be yawning.

If you get lazy when you're onstage, it shows.

We've played in places where there were more of us onstage than in the audience.

Onstage, there's a separation between character and audience; onscreen, you can go to a deeper place.

The crowd really controls how I am onstage. One show, it might be a lot of young people, super-high-energy dancing. I mirror that. Other shows, it's much more calm.

I'm always making micro-adjustments onstage, listening to the audience, and what a crowd is like can be infectious.

When I'm onstage, I'm on, but a different part of me is on: the part of me that absorbs life, sees everything occurring, and touches on everything around me.

If you're onstage thinking about what you're going to eat when you get offstage, it's time to finish.

Whether I'm performing in a club or onstage as Erika Jayne, whether I'm making records, whether I'm doing TV, I've got to entertain, and I have to take people away from their space and bring them into mine.

I tend to - every time I step onto the set until the time I go back to the hotel, I just try to be in character all the time.

Americans need to educate themselves, from elementary school onward, about what their country has done abroad. And they need to play a more active role in ensuring that what the United States does abroad is not merely in keeping with a foreign policy elite's sense of realpolitik but also with the American public's own sense of American values.

Artists have different responsibilities in different eras. But at this point, I really feel like it's all hands on deck. An artist that's fiddle-faddling in opaque, gossamer gestures - I mean it's fine to do that, totally fine, but there's no time left. We don't have the luxury of time anymore.

At the Human Rights Foundation, I love being able to drive an interview and value-connecting with someone I'm interviewing so that they feel comfortable enough to open up and share their story with me.

We willing to work with anybody that wants to work with us. It's open arms. It ain't no hating on no situation.